To mark the 45th anniversary of Phil Collins very first solo album, Face Value, two special editions have been released: a vinyl box set and a Blu-ray Audio featuring stereo, 5.1, and Dolby Atmos versions remixed by Steven Wilson.

Today, Steven Wilson has mastered the art of remixing legendary albums; so one might wonder whether this Blu-ray edition is the new definitive version of this album compared to the original CD release.

That’s what we’ll be examining in this review.

For this review, you will find 5 versions tested:

• Ed 1: Bluray – Dolby ATMOS TrueHD – 2026
• Ed 2: Bluray DTS HDMA 5.1 – 2026
• Ed 3: Bluray PCM stereo – 2026
• Ed 4: Bluray PCM stereo 2015 remastered – 2026
• Ed 5: CD – 1984

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.

The synthesis of the review are available here

The album is composed of 12 tracks:

1. In the Air Tonight
2. This Must Be Love
3. Behind the Lines
4. The Roof Is Leaking
5. Droned
6. Hand in Hand
7. I Missed Again
8. You Know What I Mean
9. Thunder and Lightning
10. I’m Not Moving
11. If Leaving Me Is Easy
12. Tomorrow Never Knows

Summary, scoring and Samples

Ed 1: Bluray – Dolby ATMOS TrueHD – 2026

Presentation

The audio track encoded in the lossless Dolby Digital TrueHD Atmos format is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 5.1, a new 24-bit/96 kHz PCM stereo mix, and the original stereo version remastered in 2015 in 24-bit/96 kHz PCM format (ref: 603497807352).

Below the spatialization for all tracks. Click on the images to zoom in.

Waveform and Spectrum: DR14

The waveform of the Bluray – Dolby ATMOS TrueHD – 2026 shows a high range confirmed with DR14.

The spectrogram of the Atmos in 9.1.6 version of blu-ray shows that the signal goes down to 24 kHz and that there is no signal above this frequency , due to the 48 kHz sampling frequency used with Dolby Digital TrueHD encoding (lossless). The bass channel (LFE) is filtrered at 120Hz.

The graph below represents the spectrum of the Bluray – Dolby ATMOS TrueHD – 2026.
The Dolby Atmos remix downmixed to 7.1 is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz (as indicated by the yellow arrow). The LFE channel is filtered down to 160 Hz (as indicated by the green arrow).The spectrum confirmsall the channels are used (just the center is lower).

Synthesis and listening

Steven Wilson offers us a superb Dolby Atmos mix of the album Face Value. Here we find all the elements that make his Atmos mixes so successful, with a beautiful use of the soundstage and a spatial distribution of instruments and sound.
Tomorrow Never Knows is an excellent example of this, utilizing the entire range of channels, even the high ones, as demonstrated by the 3D video showcasing the track’s immersive sound.
But what s particularly striking about this album’s mix is its perfect overall consistency, which offers an immersive listening experience that feels completely natural and brings out all the instruments along with a wealth of details and nuances that were almost hidden in the original mix. The low frequencies are also beautifully rendered.
This is a new reference Dolby Atmos mix by Steven Wilson.
It s truly the best way to rediscover this album. If you have the opportunity, listen to this album on a 7.1.4 system at a minimum.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●●●oo (8.3)
• Spatialization SK: ●●●●●●oooo (6)
• Restitution: ●●●●● (5)

Ed 2: Bluray DTS HDMA 5.1 – 2026

Presentation

The audio track encoded in the lossless DTS HD MasterAudio 5.1 format is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 5.1, a new 24-bit/96 kHz PCM stereo mix, and the original stereo version remastered in 2015 in 24-bit/96 kHz PCM format (ref: 603497807352).

Below the spatialization for all tracks. Click on the images to zoom in.

Waveform and Spectrum: DR14

The waveform of the Bluray DTS HDMA 5.1 – 2026 shows a high range confirmed with DR14.

The spectrogram shows that the signal up over 24 kHz due to the 96 kHz sampling frequency. The bass channel (LFE) is filtrered at 120Hz.

The graph below represents the spectrum of the Bluray DTS HDMA 5.1 – 2026.
The 5.1 is based on a sampling frequency of 48 kHz, but the upper frequency is limited at 26 kHz (yellow arrow). The LFE channel is filtered down to 160 Hz (as indicated by the green arrow).

Synthesis and listening

The 5.1 mix takes full advantage of this format s spatial reproduction capabilities by creating a very wide soundstage that makes optimal use of the surround channels. It s therefore a wonderful listening experience, even if the immersive quality falls short of the Dolby Atmos version. Still, it s the best way to listen to this album if you have a 5.1 system.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●● (5)
• Spatialization SP: ●●●●oooooo (3.7)
• Spatialization SK: ●●●●●●oooo (6)
• Restitution: ●●●●o (4.5)

Ed 3: Bluray PCM stereo – 2026

Presentation

The audio new mix track encoded in PCM 24 bits 96 kHz format is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 5.1, a new 24-bit/96 kHz PCM stereo mix, and the original stereo version remastered in 2015 in 24-bit/96 kHz PCM format (ref: 603497807352).

Waveform and Spectrum: DR13

The waveform of the Bluray PCM stereo – 2026 shows a high range confirmed with DR13.

The spectrogram shows that the signal up over 24 kHz due to the 96 kHz sampling frequency.

The graph below compares the spectrum of the Bluray PCM stereo – 2026 (white curve) with the spectrum of the Bluray PCM stereo 2015 remastered – 2026 (blue curve).The differences between the two spectra clearly show the presence of two different mixes. Note the difference in frequency range at the high end of the spectrum, where the spectrum of the 2015 remastered version extends up to 48 kHz, but consists mainly of background noise above 24 kHz.

Synthesis and listening

From the very first seconds of listening to this stereo version mixed by Steven Wilson, you realize something is different. Indeed, it feels as though an acoustic haze has been removed from the original version (remastered in 2015). Everything is more precise and detailed. The full frequency spectrum is present, with more energetic bass, more detailed highs, and clearer mids.
Compared to the original CD version, the new mix offers a tonal balance that is more in line with today’s mixes, with more prominent bass (which was weaker in the original version).
This is clearly the best stereo version available.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●●o (4.5)

Presentation

The audio original 2015 remastered (by Nick Davis and Miles Showell at Abbey Road Studios) track encoded in PCM 24 bits 96 kHz format is being tested for this version, which is sourced from the Blu-ray. The Blu-ray includes Dolby Digital TrueHD Atmos tracks, DTS-HD MA 5.1, a new 24-bit/96 kHz PCM stereo mix, and the original stereo version remastered in 2015 in 24-bit/96 kHz PCM format (ref: 603497807352).

Waveform and Spectrum: DR11

The waveform of the Bluray PCM stereo 2015 remastered – 2026 version shows a good dynamic range confirmed with DR11.

The spectrogram shows that the signal rises to 48 kHz with no signal above this frequency due to the 96 kHz sampling frequency.

The graph below compares the spectrum of the Bluray PCM stereo – 2026 (white curve) with the spectrum of the Bluray PCM stereo 2015 remastered – 2026 (blue curve).The differences between the two spectra clearly show the presence of two different mixes. Note the difference in frequency range at the high end of the spectrum, where the spectrum of the 2015 remastered version extends up to 48 kHz, but consists mainly of background noise above 24 kHz.

Synthesis and listening

The original version, remastered in 2015, has a narrower dynamic range compared to Steven Wilson s new mix, but more importantly, it lacks the detail and precision of the new mix. Some prefer to stick with the original versions, but the new mix better highlights the work done on the various instruments on the album.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●oo (3.5)

Ed 5: CD – 1984

Presentation

Original CD released in 1984 presented in 16 bits 44,1 kHz (Ref:)

Waveform and Spectrum: DR14

The waveform of the CD – 1984 version shows a high dynamic range confirmed with DR14.

The spectrogram shows that the signal rises to 22 kHz with no signal above this frequency ( due to the 44.1 kHz sampling frequency.

The graph below compares the spectrum of the CD – 1984 (white curve) with the spectrum of the Bluray PCM stereo 2015 remastered – 2026 (blue curve).The curves of the two spectra overlap almost perfectly up to 8 kHz. Above that frequency, the CD’s level is slightly lower, with a maximum deviation of 3 dB at 14 kHz, before returning to nearly the same level at 20 kHz.

Synthesis and listening

This release features the album’s original mix in all its dynamic glory. The sound is more precise than the 2015 remastered version. This is the version to choose if you want a digital release of the original mix.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●oo (3.5)

This Blu-ray release is a new definitive edition of the Face Value album, featuring lossless remixes in Dolby Atmos and 5.1, as well as a beautiful stereo version that offers a new sonic balance closer to the current mixes.
The Dolby Atmos mix is a major success for Steven Wilson, offering a mix that blends seamlessly with the music while fully leveraging its immersive qualities.
The Blu-ray release stands out once again for the quality of the versions it offers.
If you want to experience the original digital mix with all its dynamic range, you’ll need to turn to the original CD edition.

Dynamic Range measurements are shown below.

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Measurements

Dynamic Range comparaisons

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 5 editions reviewed have obtained the following Dynamic Range (DR) :

	Bluray – Dolby ATMOS TrueHD – 2026	Bluray DTS HDMA 5.1 – 2026	Bluray PCM stereo – 2026	Bluray PCM stereo 2015 remastered – 2026	CD – 1984
Global	DR14	DR14	DR13	DR11	DR14
Min	DR8	DR11	DR12	DR9	DR11
Max	DR16	DR15	DR14	DR13	DR16
In the Air Tonight	DR15	DR15	DR14	DR10	DR16
This Must Be Love	DR16	DR15	DR14	DR12	DR16
Behind the Lines	DR15	DR15	DR12	DR10	DR15
The Roof Is Leaking	DR11	DR12	DR14	DR13	DR14
Droned	DR13	DR13	DR12	DR10	DR13
Hand in Hand	DR15	DR14	DR12	DR10	DR15
I Missed Again	DR15	DR14	DR13	DR11	DR14
You Know What I Mean	DR08	DR11	DR12	DR11	DR11
Thunder and Lightning	DR15	DR15	DR14	DR10	DR16
I’m Not Moving	DR15	DR15	DR14	DR10	DR16
If Leaving Me Is Easy	DR14	DR14	DR14	DR13	DR15
Tomorrow Never Knows	DR15	DR13	DR12	DR09	DR12

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 5 for 5.1 or 7.1 channels configuration
  • Between 0 and 10 for Atmos configuration (7.1.4)
  • For more information on spatialization, you can read the article describing this parameter here.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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